At the end of the Thirties, along with the utmost expression of the Stalinist terror, Soviet Russia assisted to the development of new social, aesthetical and economical categories. Luxury came back to life after the demonization of the Bolshevik Twenties. Not for the masses, of course, but only for the élite of Soviet society: stakhanovites, shock workers, heroes and similar characters. If Kitsch had been the strategy used by the Stalinist power in the years of the first Five year plan to obtain public consent and to keep collective emotions under strict control, from the mid Thirties the nation witnessed the raise of exclusiveness, elitism, even snobbery. No more rough proletarians and badly dressed peasants, but elegant dandies, capable of dressing up for theatre and concerts, patronizing posh restaurants and attending select political celebrations, driving expensive cars and shopping in exclusive stores. No more masculine women with short hair and firm chin, but stylish ladies, well dressed and perfumed. No more Kitsch "second tears", as theorized by Milan Kundera, and shared with endless empathy by millions of serialized Soviet citizens, but a harsh smile of superiority, sported by "the best representatives of the Soviet nation". Through a series of images (propaganda and commercial posters, pictures, paintings and movie clips) I shall investigate the switch from political Kitsch to "political camp" in the Stalin era and the emergency of a new class of privileged people responsible for a surprising form of dandyism with a socialist face.